'The role of Katiusha is a demanding one‚ requiring both formidable acting and singing skills‚ and the French soprano‚ Anne Sophie Duprels‚ has both. Her performance in the role was a real tour de force. Riding an emotional roller-coaster Duprels displayed her credential as a first-rate singing actress. Vulnerability‚ naivety desperation‚ vicious brutality‚ calm acceptance and beauty were just a few of the characteristics Duprels had to bring to the role‚ which she successfully delivered with commitment and intelligence‚ underlining the dramatic range of her art. Her voice displays power‚ agility and a colorful palette which she employs with a high degree of technical skill. Equally impressive was the sheer level of stamina she possesses; Duprels was on stage for almost the entire opera‚ and her levels of energy and emotional engagement never wavered. It was an all around riveting performance.'

Risurrezione‚ Wexford OperaBachTrack.com (October 2017)

'The role of Katyusha‚ almost constantly present on the scene‚ demanded a strong actress and a sensitive phrasing more than a vocal display of bravura‚ and soprano Anne-Sophie Duprels certainly delivered. As typical of verismo operas‚ the tessitura lies relatively low‚ but Duprels negotiated the infrequent high pitches with ease.'

Risurrezione‚ Wexford OperaOpera Today (October 2017)

'Much of the success of this production was due to Anne Sophie Duprels’ unwavering commitment in the role of Katiusha. Twice‚ recently‚ I have admired Duprels’ unstinting vocal and theatrical integrity ( La Voix humaine ; Zazà ) and here she again excelled and astonished. Scarcely absent from the stage‚ she encompassed the challenging vocal and dramatic range of the role with assurance‚ spiralling from gauche impressionability to incipient passion‚ from abysmal desolation to transcendental ecstasy. Alongside the heart-rending cries and virulent ripostes‚ Duprels floated some exquisite pianos. She balanced radiance with harshness‚ and fortitude with vulnerability. This was true singing-acting: no wonder Duprels looked exhausted‚ overcome and elated in equal measure at the close.'

Risurrezione‚ Wexford OperaSeen & Heard International (October 2017)

'The protagonist of the opera‚ Katiusha‚ was played by soprano Anne Sophie Duprels‚ a true singing-actress. Her voice is especially attractive in the middle‚ and she is an excellent interpreter. Katiusha is a complicated character‚ and Ms. Duprels was fully convincing as she passed from the young girl in love in Act I to the desperate pregnant woman in the second‚ the prostitute of the third‚ and the mature woman of the last act.'

'Soprano Anne Sophie Duprels’s Katiusha holds the stage and emotes with ease through all her transformations‚ from youthful innocence to degradation and final acceptance of her fate.'

Risurrezione‚ Wexford OperaThe Spectator (October 2017)

'Director Rosetta Cucchi opted for naturalism‚ heightened by a discreet sprinkling of fantasy‚ and Duprels showed again why no one does these abused verismo heroines better: unafraid to show her voice’s rougher edges‚ then suddenly floating a phrase with melting tenderness.'

Risurrezione‚ Wexford OperaThe Stage (October 2017)

'Right at the centre comes an individual performance of exceptional dramatic conviction – that of Anne Sophie Duprels as Katiusha‚ whose young life is destroyed by her seduction by the prince in the house where she is his aunt’s companion‚ but who eventually achieves spiritual renewal even amidst the degradation of a Siberian prison camp.'

Risurrezione‚ Wexford OperaThe Telegraph (October 2017)

'Full marks to Anne Sophie Duprels‚ a marvellously resourceful singing actress who gives her all to the character of the seduced maiden turned whore‚ and Gerard Schneider as her penitent seducer. '

Risurrezione‚ Wexford OperaThe Times (October 2017)

'Risurrezione relied more than most operas of this period on its protagonist‚ and here we had something close to the ideal in Anne Sophie Duprels‚ who has made a speciality of the rarer Mascagni‚ Leoncavallo and‚ now‚ Alfano. As an artist‚ she is the opposite of Davidsen: a mature singer with a perhaps less than first-class voice‚ but who uses it to maximum advantage‚ pouring huge tone out of her tiny frame and living her role with devastating commitment.'

Verdi Requiem‚ Opera Holland ParkClassical Source (August 2017)

'Of the vocal soloists‚ Anne Sophie Duprels impressed with her easy command‚ security of tone‚ and huge reserves of power. She was absolutely thrilling in the sustained high-C in ‘Rex tremendae’ and later found even greater bite in the ‘Libera me’ fugue.'

Verdi Requiem‚ Opera Holland ParkLark Reviews (August 2017)

'Anne Sophie-Duprels (who sang the title role in Opera Holland Park’s Zaza this season) started Libera Me in a restrained‚ understated way – clearly a deliberate decision because she builds it to a terrific climax.'

Zazà‚ Opera Holland ParkArbuturian (July 2017)

'Zaza’s journey‚ from careless‚ almost callous diva to compassionate‚ touching heroine is sublime. The cast is uniformly excellent‚ there’s not a dramatically weak link to be seen. But it’s Anne Sophie Duprels’ Zaza who burns brightest. It’s an extraordinary performance‚ raw and compelling. The scene in Paris between Zaza and her lover’s child‚ and the full force of her decision not to condemn a child to the same upbringing she herself had‚ is wonderful. We feel her struggle as she chooses not to let history repeat itself and condemns herself to loneliness in the process. The final image of her illuminated and alone reminds us that‚ ultimately‚ we all face the world on our own‚ however adored we are.'

Zazà‚ Opera Holland ParkBachTrack.com (July 2017)

'The finale is a blazing row between Zazà and Milio which shows both our principals‚ Anne Sophie Duprels and Joel Montero‚ at their finest: as they go through the emotional wringer of fury and spurned passion‚ they’re completely convincing and vocally strong. All this in spite of some trying conditions‚ in the shape of a thunderstorm of biblical proportions hammering down on the Holland Park tent. The singers‚ conductor Peter Robinson‚ the City of London Sinfonia continued bravely: the show must go on.'

Zazà‚ Opera Holland ParkCritics Circle (July 2017)

'As Zazà‚ Anne-Sophie Duprels delivers all-giving emotion that carries you with her through every moment: charm‚ artistic high-jinx‚ grit‚ determination‚ passion‚ anguish and more fill her powerful yet always lyrical soprano tone to the brim‚ shining with seeming ease through everything but the very worst downpour. '

Zazà‚ Opera Holland ParkMusicOMH (July 2017)

'Anne Sophie Duprels provides a deeply involving portrayal of Zazà. It is by no means an easy role as a significant amount of it sits relatively low in the voice‚ but as the evening progresses she conquers all of its challenges with increasing ease while bringing an immense weight of emotion to bear in her voice.'

Zazà‚ Opera Holland ParkPlanet Hugill (July 2017)

'The piece requires a captivating performance from the singer of the title role‚ Leoncavallo’s music does not quite do all the work. And Anne Sophie Duprels really did invest the character of Zaza with a depth and complexity which at first engaged and then deepened into a profound sympathy. The basics of the plot are a bit common-place (music-hall singer has affair with man who turns out to be married) and the opera rather relies on the colourful background to create an effect. But Duprels really captured our hearts‚ making Zaza’s plight believable.'

Zazà‚ Opera Holland ParkSeen & Heard International (July 2017)

'As Zazà herself‚ Anne Sophie Duprels‚ who has done fine service for OHP previously as Violetta‚ Magda (Rondine)‚ Lucia‚ Kat’a and Iris amongst others‚ is exemplary‚ owning the stage and finding both power and tenderness in the role. Zazà’s fury is delivered with a cutting‚ but not painfully piercing‚ top; against that is the splendid interior sense she conveys when she reassures Totò that no-one will take her father away.'

Zazà‚ Opera Holland ParkThe Daily Mail (July 2017)

'Anne Sophie Duprels’s Zazà is another exceptional portrayal by this fine soprano of an ageing star‚ clutching at straws emotionally and not really surprised when the straw beaks off in her hand. '

Zazà‚ Opera Holland ParkThe Express (July 2017)

'No soprano is more suited to the title role than Anne Sophie Duprels. She captures the fragility and bravado of Zazà‚ first seen in the dressing room of the provincial music hall surrounded by a supportive team including ex-lover Cascart (Richard Burkhard).'

Zazà‚ Opera Holland ParkThe Guardian (July 2017)

'...Duprels gives a performance of such emotional honesty and dramatic integrity that it tears you in two.'

Zazà‚ Opera Holland ParkThe Independent (July 2017)

'Anne Sophie Dupreis excels in the title role...'

Zazà‚ Opera Holland ParkThe Spectator (July 2017)

'Anne Sophie Duprels‚ meanwhile‚ plays Zaza with a commitment that’s borderline heroic. Duprels is a wonderful artist‚ and there’s no question that she’s got the vocal chops for a role like this: a dark‚ lustrous soprano‚ raw enough to convey realism under pressure‚ but capable of drawing you close as well as sending silvery bolts of sound streaking over the full orchestra. But here she’s a vulnerable figure‚ hanging up her glamour with her stage costume and withering visibly as reality does its worst. In the most wrenching moment of the whole evening‚ sweetness‚ fear and desperate hope all played across Duprels’s face as she stood there in her socks watching Milio (Joel Montero) leave her to return (as we’ve already guessed‚ even if she hasn’t) to his wife and child.'

Zazà‚ Opera Holland ParkThe Telegraph (July 2017)

'What lifts the evening is the marvellous acting of Holland Park’s resident diva Anne Sophie Duprels. Ideally‚ one wants a soprano richer deeper and warmer than hers in this lush music‚ but such is Duprels’s commitment and intelligence that nobody will feel short-changed. Without a trace of sentimentality or exaggeration‚ she traces both Zazà’s warmth of heart and her defensive peasant spirit‚ creating a persuasive and moving portrait of a woman who refuses to be either heroine or victim.'

Zazà‚ Opera Holland ParkWhat’s On Stage (July 2017)

'Duprels is one of today’s great singing actresses who can take us to heaven or drag us to hell - most frequently the latter. She may be an Opera Holland Park regular‚ but in her case familiarity breeds admiration rather than anything else. The French soprano has a vocal warmth that’s especially strong in the upper registers‚ and she’s a charismatic company totem. Her Zazà is first an entitled‚ Arkadina-style theatre star (albeit in Saint-Étienne rather than among the bright lights)‚ then an impassioned lover‚ and only finally a dignified woman who takes control of her emotions.'

'For the occasion‚ they engaged their favourite leading lady‚ Anne-Sophie Duprels‚ who delivered everything they could have asked for. La Voix humaine is the defining example of a prima le parole opera: the most important thing is for every line of the text both to be delivered both with crystal clarity and to be inflected with the rapidly shifting mood of the woman as the mask of vivacity shatters and she desperately‚ repeatedly tries to patch it up. Duprels generated expression with every syllable; she drew us into empathising with her at every stage. Friends of mine who are devotees of straight drama can complain about the acting quality in opera: no such complaints could be levelled here. Since the Elgar Room is a relatively small space‚ there was no need for Duprels to overstretch her voice into harshness or to overdo the vibrato‚ so we could hear her voice at its sweetest.'

' Anne Sophie Duprels is a regular performer of lead roles for Opera Holland Park‚ and her acting and vocal skills were fully exercised here in a performance that had a wide range of expression from rawness to refinement. The danger in this piece is that you peak too soon‚ and she carefully graded her performance so that the more melodramatic moments delivered more impact through holding back.'

'But‚ the intimacy of the setting‚ together with Duprels’ astonishing presence and impact‚ more than made up for any visual impediment. Duprels’ tour de force also helped mitigate the drabness of the design...As ‘Elle’‚ the lonely woman who makes a desperate telephone call to the lover who has abandoned her‚ she spanned an enormous emotional spectrum from terror to tremulous hope‚ from existential despair to excitement. We hear just one side of the conversation but‚ through careful pacing of the silences and nuanced repetitions of others’ words‚ Duprels was able to evoke a world beyond the forlorn bedroom‚ thereby deepening her own alienation from normal human interaction and exchange...
Duprels confirmed that she is a tremendous singing actress. Not surprisingly‚ every word of the French text was audible and she had a sure sense of how to accommodate her voice to the small venue. She conjured an enormous variety of vocal colour and tone: at times whispering‚ speaking‚ crooning‚ then flowering in full blown lyrical ecstasy‚ gleaming at the top‚ breathless and dusky below. As she tried vainly to win her lover back with nostalgic remembrance‚ her voice was caressing‚ but when pain and pride broke through Duprels exposed Elle’s bitterness‚ introducing a shrill stridency or hardness of tone. Her physical commitment to the role was consummate‚ the final moments of Elle’s breakdown gripping and troubling.'

'Performing on a raised platform with just a decorated backdrop‚ Duprels had only a sheet‚ a phone and a pair of shoes for props‚ but she did not need anything else and it was her performance which was truly mesmerising.

La voix humaine is very much about the words (Poulenc adapted the libretto from Jean Cocteau’s 1928 play)‚ and hearing a Francophone singer in the title role was a special joy. Though there were English surtitles‚ you hardly needed them such was the clarity and expressivity of Duprels’ performance. Sensitively accompanied by Rogé‚ Duprels’ concentration on the poetry brought a lieder-like intimacy to the performance.

Duprels’ heroine was very stylish and poised‚ and for most of the opera her dialogues with her lover (former lover) sparkled with wit and charm. Without ever resorting to intense histrionics‚ Duprels magically conveyed the intensity of feeling under the surface‚ making it clear that this was a performance for the lover’s benefit.

Duprels is a very engaging performer‚ quickly developing our sympathy and we responded to the character’s charm. This drew you in‚ fully engaging us with the character’s intense emotional journey‚ yet entertaining us too. Despite the bleakness of the ending‚ and the woman’s admission that she has already attempted suicide‚ Duprels did not finish with the cord of the phone around her neck; this was a character who felt the moment deeply and intensely yet would survive.'

'It’s her feet you notice first. Flexing and arching convulsively‚ rubbing up against one another as though to scrape flesh from bone. Soprano Anne Sophie Duprels is a consummate singing-actress‚ and as Elle — the abandoned lover of Poulenc’s one-act monodrama La voix humaine — her sense of entrapment‚ of finding herself in not just a body but also a situation not her own‚ was palpable in every gesture. In an opera house it would have been painful; in the close quarters of the Royal Albert Hall’s Elgar Room it was all but unbearable.'

'Her command of the role is complete‚ lending directness to the recitative-like writing...'

Suor Angelica‚ Opera NorthOpera Magazine (December 2016)

'Anne-Sophie Duprels brought a versatility and resonance to Angelica that outshone even her several previous appearances in Leeds. The role calls for delicate treatment and above Duprels combined a graceful‚ aristocratic demeanour with an underlying disquiet. Above all‚ she tactfully underlined the intention of Giovacchino Forzano’s libretto that Angelica should appear more devout than her peers. To her normal lightness of tone she added sumptuous glory in her plea to the Madonna; we shared her agony at discovering the death of her son. '

Suor Angelica‚ Opera NorthBachTrack.com (October 2016)

'Anne-Sophie Duprels was a childlike Angelica‚ but only at first sight‚ because her voice has seductive intensity‚ and her acting told us of years of frustration and humiliation...Angelica takes poison... and prays to the Holy Virgin to rescue her (“O Madonna‚ Madonna‚ salvami‚ salvami”)‚ an excellent scene in which Duprels displays all her considerable coloratura credentials...'

Suor Angelica‚ Opera NorthSeen & Heard International (October 2016)

'French soprano Anne Sophie Duprels is a brilliant actor/singer who possibly provides the outstanding performance of the evening her voice ringing clear and true even when prostrate.'

Suor Angelica‚ Opera NorthThe Arts Desk (October 2016)

'Anne-Sophie Duprels’s Angelica is a standout‚ becoming more three-dimensional as her back story is revealed.'

Suor Angelica‚ Opera NorthThe Guardian (October 2016)

'Anne Sophie Duprels is outstanding in the title role‚ despite delivering her big moment‚ Senza Mamma‚ face down on the floor.Among an impressive ensemble cast‚ there is simply nun finer.'

Suor Angelica‚ Opera NorthThe Observer (October 2016)

'Suor Angelica makes its usual‚ terrible impact – how could it not with the expressive‚ imaginative Anne Sophie Duprels in the title role?...Duprels’s Angelica‚ reduced by the unending tragedy of Giselle Allen (Giorgetta) and her life‚ had candour and tenderness.'

Suor Angelica‚ Opera NorthThe Spectator (October 2016)

'Anne Sophie Duprels is as compelling as she is in everything I have seen...'

Suor Angelica‚ Opera NorthThe Telegraph (October 2016)

'But two of the cast stand out...the other is that tremendous operatic actress Anne Sophie Duprels – who inhabits the tormented soul of poor Angelica with an intensity and sincerity that was heart-rending. Both are superb.'

Suor Angelica‚ Opera NorthYork Press (October 2016)

'No opera depends more heavily on its title role‚ and Anne-Sophie Duprels assumes it with a versatility that outshone even her several previous appearances in Leeds.'

Iris‚ Opera Holland ParkOpera Magazine (August 2016)

'As Iris‚ Anne Sophie Duprels gave a performance built on the sort of no-hold-barred emotional commitment we’ve come to expect from her‚ offering absolute identification with the character from initial wide-eyed‚ cuddly toy-clutching naivety‚ through harrowingly uncomprehending resistance in the face of male sexual aggression‚ to the final desperation that flowers into dubious redemption...as a complete performance this was remarkable.'

Iris‚ Opera Holland ParkClassical Source (June 2016)

'Anne Sophie Duprels is a very convincing Iris both vocally and in stagecraft.'

Iris‚ Opera Holland ParkCritics’ Circle (June 2016)

' soprano Anne Sophie Duprels‚ whose child-woman Iris lives so completely in her small frame. There’s innocence here‚ but also wilful ignorance‚ and Duprels finds both‚ playing off her physical youthfulness against a voice that has all the lived-colours of a mature woman. It’s this friction that gives her performances its charge‚ surviving even an unusually abstract Act 3.'

Iris‚ Opera Holland ParkOpera Today (June 2016)

'Much rests on the title role — the only character to undergo any ‘development’. Anne Sophie Duprels gave a stunning performance‚ especially in the emotionally charged second Act. Without undue mannerism‚ she successfully conjured the naivety and freshness of a young girl who has no knowledge or understanding of the darker sides of life. Whether nonchalantly swinging her legs by the stream‚ clutching her rag doll tightly to protect it from the monsters which threaten it in her dreams‚ or so utterly absorbed by a puppet show that she engages in a duet with her make-believe alter ego‚ Duprels was credible and sincere. Vocally she was stunning. Her voice floated easily over the large orchestra‚ by turns a silvery thread or a gorgeous stream‚ always focused and sensitively phrased. She exhibited impressive musical awareness and technical control‚ and was able to marry the two to create a moving portrayal. Awaking in a seedy brothel‚ her belief that the flimsy painted walls which surround her belong to paradise was heart-breaking in its artless misconception. And‚ Iris’s Act 2 aria‚ ‘Un dì‚ ero piccina’‚ in which she describes a Buddhist screen she had seen as a child on which was depicted an octopus coiling its tentacles around a young girl‚ evoked tender pathos.'

Iris‚ Opera Holland ParkPlanet Hugill (June 2016)

'The only fully developed character is Iris‚ and Anne Sophie Duprels was on superb form. She has quite a slight frame so was perfectly believable as a young girl‚ especially as she brought a lovely sense of naivety and wonder to the role without us ever feeling this was annoying overdone. Instead she and Fuchs created an entirely believable character. But this has combined with a real sense of power‚ focus and beauty in Duprels voice‚ she really seems to have found form. Mascagni’s music was sung with the combination of strength and suppleness which it requires; great beauty of line and tone‚ yet riding the orchestra with ease. She made the last act really powerful and poignant‚ making it seem necessary rather than a strange add on.'

Iris‚ Opera Holland ParkSeen & Heard International (June 2016)

' Anne Sophie Duprels is simply stunning in all respects; in stature‚ she is the perfect size to suggest the fragility of the heroine; her voice has all the range and strength Mascagni requires. Her way with Mascagni’s ever-expressive lines as she sings to her dolls revealed someone completely at home in this repertoire. Her ‘commentary’ on the staged entertainment was beautifully convincing‚ as was her sense of confusion‚ a sense of a girl experiencing something way above her head‚ in the Act Two seduction. The climax‚ her own death scene‚ was magnificently managed‚ vocally and dramatically – a true partnership between herself and orchestra.'

Iris‚ Opera Holland ParkThe Express (June 2016)

'. Anne Sophie Duprels gives a searing performance in the title role'

Iris‚ Opera Holland ParkThe Guardian (June 2016)

'Fuchs explores its dichotomies clear-mindedly and without sensationalism in a staging‚ her finest of recent years‚ that is at its most unbearable when it is most restrained. She’s helped immeasurably by a performance of almost terrifying intensity from Anne Sophie Duprels in the title role'

Iris‚ Opera Holland ParkThe Observer (June 2016)

'...Anne Sophie Duprels in the title role‚ a rare singer capable of portraying the naivety and freshness of youth while singing with blazing maturity.'

Iris‚ Opera Holland ParkThe Stage (June 2016)

'Anne Sophie Duprels is an artist who always gives 100 percent‚ and her Iris is vocally and dramatically unstinting'

Iris‚ Opera Holland ParkThe Telegraph (June 2016)

'that wonderfully intelligent singer and imaginatively resourceful actress Anne Sophie Duprels gave a heartfelt performance in the title-role that made what could be merely repellent emotionally plausible and touching.'

Iris‚ Opera Holland ParkThe Times (June 2016)

'It’s hard to imagine‚ however‚ a singer doing more than Duprels to bring heart and soul to this heroine. With a ballerina’s poise (and tiny stature)‚ she has the physical frailty but sings with tireless power and plangency: it’s a truly bravura performance.'

Iris‚ Opera Holland ParkWhat’sOnStage.com (June 2016)

'In the title role‚ Anne Sophie Duprels adds yet another verismo victim to her roster and‚ with her warm voice and intense musicality‚ conveys all the despair of a broken innocent. It is harrowing to watch her incomprehension as imprisonment turns to horror.'

Rusalka‚ Scottish OperaSeen & Heard International (April 2016)

'...but her pleas to Ježibaba were deeply heartfelt‚ and by the time of the final act she achieves rare nobility together with a silvery beauty to her voice that fitted the moonlit setting perfectly.'

Rusalka‚ Scottish OperaThe Telegraph (April 2016)

'However‚ the greatest challenge falls upon Anne Sophie Duprels in the title role. The French soprano plays an elusive character who is‚ by turns‚ a mythical creature‚ a mute human and a desolate spirit. She plays all three with a compelling subtlety and deftness that is equal to the beauty of both her voice and Dvorák’s delightful Slavonic music.'

'Of course‚ Anne Sophie Duprels (Butterfly) was the star of the show and her brilliance shone in every note‚ from unbridled joy‚ naive simpering‚ terror‚ dread and resolve‚ all sung with conviction and passion. She was remarkable and if I had to pick my Butterfly‚ she would be it'

'Duprels is a singer-actress of singular power. Her voice‚ not always beautiful near the top of its range‚ is nevertheless flexible and lyrical‚ and ideal for the trapped and tragic female figures that inspired Puccini throughout his career. As Il tabarro’s down-trodden Giorgetta‚ miserably married to the much older barge-owner Michele‚ Duprels pulled of a visionary duet with Jeff Gwaltney’s hunky stevedore lover‚ Luigi‚ as they dream of a better life'

Il Tabarro (Il Trittico) Opera Holland ParkMarkRonan.com (June 2015)

'Anne Sophie Duprels gave a beautifully nuanced portrayal of Giorgetta'

'Soprano Anne Sophie Duprels (Giorgetta) and baritone Stephen Gadd (Michele) were impressive as they immediately created a convincing milieu‚ using their voices with suppleness and phrasing thoughtfully to establish their characters and relationship. Duprels was a sympathetic Giorgetta‚ physically fatigued by domestic hardship‚ emotionally worn down by the death of her child. Despite her attraction to Jeff Gwaltney’s Luigi‚ she seemed reluctant to give in to her desires‚ which made her duet with Gwaltney all the more glorious‚ as they rapturously rejoiced in the imagined splendours of Paris. Gruff and irritable at the start‚ Gadd dropped his cold‚ authoritarian mask in a superb central duet with Duprels'

'...Trittico may well be the best thing I have yet seen and heard at Holland Park...The casts were also as fine as I can recall from OHP‚ perhaps even finer still...Anne Sophie Duprels convinced equally in the conflicted roles of Giorgetta and Suor Angelica‚ her musical and dramatic focus and shaping every inch the equal of Stratford’s'

'Duprels’s Angelica slowly emerges in identity before embarking on the emotional crux of the whole evening in her meeting with her aunt‚ La Zia Principessa‚ who requires her errant niece to sign away her inheritance and who tells her that her bastard son has perished. Duprels’s singing‚ initially meltingly soft‚ gathered in expressive force as she bears her aunt’s cruelty‚ and her aria "Senza mamma" was properly heart-breaking...the two artists really sparked off each other...the Duprels-Plowright showdown and the closing scene were musically and dramatically so strong'

'Had the evening ended with Tabarro it would have been dramatically very satisfying‚ but with the addition of Suor Angelica it was a knockout. Anne Sophie Duprels reappeared from her role as Giorgetta to give a truly gripping account of the title role. The single candle and cross on a table‚ partly surrounded by a screen‚ during her meeting with Rosalind Plowright’s superb Principessa was hugely effective‚ and their body language was enough to make one weep...The production’s fine cutting edge and Stratford’s excellent conducting‚ particularly when Angelica is alone on stage‚ had an emotional tug stronger than almost any I’ve seen‚ including the excellent one at Covent Garden nearly four years ago'

'The voices of Anne Sophie Duprels as Suor Angelica and Fiona Mackay as La Badessa are hardly identical in sound but both are possessed of thick‚ vibrant shades and some thrilling darker hues‚ meaning that they work very well together'

'And now for a confession. In over forty years of opera-going‚ I have never shed a tear. Not once. Not when Violetta dies‚ not when the Countess forgives Almaviva‚ not even when I accidentally heard Andrea Bocelli’s Verdi CD. No doubt‚ it points to something unwholesome and not quite right about me‚ but there you have it – choking up is not in my personality. Until a couple of nights ago‚ that is. I should have sensed that something was brewing from the startling guttural roar Anne Sophie Duprels emitted as Angelica hurled herself at La Zia Principessa‚ on learning of the fate of the son she has never seen. From the gloriously sung "Senza mamma" to the end of the opera‚ she had me right on the brink. Her portrayal of Angelica’s death was so raw that it was‚ at times‚ too hard to watch. In the space of a couple of hours she had made the transition from merely good to stellar‚ and it was wonderful to experience. The audience knew it too‚ and rewarded her with a deafening ovation'

'There was a similarly strong sense of ensemble in Suor Angelica‚ with Duprels once again taking the leading role‚ as the eponymous sister incarcerated by her family to atone for her sins. At first Duprels is indistinguishable among the down-trodden community of penitent sinners (director Oliver Platt suggests that they are all guilty of some great misdemeanour and that their prayers are motivated less by spiritual devotion than by a need for attrition); but she emerges as feistily independent and dangerously resentful. This was utterly committed singing'

Suor Angelica (Il Trittico) Opera Holland ParkTelegraph (June 2015)

'An absolutely wonderful evening. This Puccini opera demands huge resources but Opera Holland Park pulls it off...Casting and staging all three parts of Puccini’s Il Trittico to an equal level of excellence challenges even the Met or Covent Garden. So hats off to Opera Holland Park’s management. At its heart is a remarkable double scored by the French soprano Anne Sophie Duprels‚ doubling as the bargeman’s wife Giorgetta in Il Tabarro and the eponymous nun in Suor Angelica. In terms of tonal beauty‚ Duprels’ voice isn’t inherently an instrument of the first-rank‚ but she uses it with consummate intelligence to express meaning and feeling. I have to cast my mind back a generation to Teresa Stratas to think of another soprano whose acting was so emotionally raw and compellingly vivid. Sparing herself nothing‚ she makes the plight of both these victimized women painfully real: Giorgetta‚ immired in the tedium and frustration of her spartan and confined existence; Angelica‚ the meekly resigned girl in the back row who suddenly explodes with resentment at the way that single-motherhood has left her a pariah. Be warned: I found her enactment of Angelica’s suicidal agony almost unbearable to watch‚ not least as the staging denies her the sentimental consolation of a redemptive epiphany'

Suor Angelica (Il Trittico) Opera Holland ParkThe Times (June 2015)

'Not so much tugging the heartstrings as ripping them out one by one‚ Anne Sophie Duprels’ Angelica‚ who has waited years to find out the fate of the child taken away from her‚ is devastating in its conviction. The opera reaches a tremendous climax with her showdown with Rosalind Plowright’s guilt-ridden Princess (her faith oppressing her as much as everyone else) and a defiantly unsentimental conclusion'

'Duprels‚ whose OHP Butterfly remains by some distance the best I’ve seen‚ ever‚ also sings the title role in Suor Angelica‚ the middle part of Puccini’s triptych. The French diva’s voice may lack a layer of sugar-icing but she is one of the most convincing and engaged singing actresses working today‚ and Puccini’s tragic novice shows her at her best'

'Stealing the show was soprano Anne Sophie Duprels acting superbly as the badly used and abused sewing machinist Salud…In excellent voice‚ smooth‚ securely in-tune and unerringly expressive Duprels generated convincing emotion singing that death is better than suffering the pain of heartbreak'

La vida breve‚ Opera NorthBachTrack.com (February 2015)

'Anne-Sophie Duprels as the betrayed Salud is excellent: she is deeply agitated from the beginning‚ when she anticipates the arrival of her vain‚ slimy lover Paco‚ and skillfully ramps up the agitation so that in the Grand Guignol finale she is absolutely hypnotic as she slowly cuts herself up with dressmaking shears‚ making red rivulets to run down her face and her shroud-like dress'

La vida breve‚ Opera NorthBachTrack.com (February 2015)

'Anne-Sophie Duprels as the betrayed Salud is excellent: she is deeply agitated from the beginning‚ when she anticipates the arrival of her vain‚ slimy lover Paco‚ and skillfully ramps up the agitation so that in the Grand Guignol finale she is absolutely hypnotic as she slowly cuts herself up with dressmaking shears‚ making red rivulets to run down her face and her shroud-like dress'

La vida breve‚ Opera NorthObserver on Sunday (February 2015)

'...an unblinking‚ terrifying array of sexual violence and transgression‚ performed by a cast who can cope: Anne Sophie Duprels‚ an Opera North favourite‚ gamine and urgent as Salud‚ makes up for any lightness of voice with the intensity and fervour of her performance'

'...to turn Salud’s suicide from passionate confrontation into slow ritual: taking one of the finished wedding dresses‚ she mounts the factory’s modelling platform for the famous danza‚ takes the scissors and cuts her flesh to pieces. Her workmates close in around her in a show of oppressive solidarity: they‚ no less than Salud herself‚ demand her death in penance for the transgression of letting a flicker of hope illuminate their world. Thanks to the force of Anne Sophie Duprels’s striking vocal and physical characterisation‚ and to the excellence of the company’s chorus and orchestra‚ the scene is quite overwhelming‚ taking the opera and its bristling score well beyond the stock psychologies of operatic ‘verismo’ to penetrate deep into the concerns and fears which crowd and confound us today'

La vida breve‚ Opera NorthThe Times (February 2015)

'Anne-Sophie Duprels’ superbly neurotic Salud...As soon as you see those white dresses and watch Duprels brandishing her scissors with more intensity than her seamstress duties require‚ you know exactly how this lurid story will end'

La vida breve‚ Opera NorthYorkPress (February 2015)

'Anne Sophie Duprels is a compellingly energetic Salud‚ though her slow suicide is almost too much to watch'

The Jacobin‚ Buxton Festival OperaBachTrack.com (July 2014)

'Anne Sophie Duprels is a powerful actress and rose well to her key moment in Act III‚ where she sings the melody the old Countess used to sing (thus proving to the Count that she and Bohuš are no foreign imposters who support the Girondins)'

The Jacobin‚ Buxton Festival OperaMarkRonan.com (July 2014)

'...the casting is superb...Anne Sophie Duprels as his wife Julie coming through beautifully in the touching scene where she persuades Andrew Greenan’s Count that he is badly mistaken'

The Jacobin‚ Buxton Festival OperaPlanet Hugill.com (July 2014)

'Anne Sophie Duprels made a sympathetic and poised Julie. Julie is a character that is only revealed gradually and Duprels allowed Julie to unfold slowly until the dramatic moment when she sang Bohus’s mother’s lullaby to the Count. Duprels and Lester worked well as a pair‚ much of the plot required them to act as a couple‚ and they did so convincingly‚ long married and comfortable with each other'

'The final act of reconciliation is inspired by a lovely lullaby beautifully sung by Anne Sophie Duprels with harp accompaniment‚ a Dvorák inspiration'

Madama Butterfly‚ Scottish OperaDaily Record (June 2014)

'Anne Sophie Durprels beautifully portrays Butterfly’s naivety as not just an adolescent learning curve‚ but as a fundamental part of her nature. This was evident during the opera’s most famous aria ‘Un Bel Di’ when Butterfly sings of seeing her husband return to her in Japan so they can be together and happy as a family once again. This heartbreaking moment deserved the rapturous applause it received from the Aberdeen audience'

Madama Butterfly‚ Edmonton OperaCalgary Herald (April 2014)

'A good staging can facilitate this message clearly‚ and in the case of this production‚ it focuses us all the more on soprano Anne Sophie Duprels’ stunningly realistic portrayal of a maturely poised adult Cio-Cio San and the tragedy of her ultimately shattered world'

Madama Butterfly‚ Edmonton OperaEdmonton Journal (April 2014)

'Brilliant performance by lead soprano in Madama Butterfly: What a performance it is‚ too. In the first act she really does seem 15‚ with that kind of self-conscious stiffness‚ hinting at insecurity‚ that some teenagers show when placed in a situation where they are taking on an adult role. Duprels is absolutely gripping in the second act‚ a kind of firebrand wrapped up in her complete belief that Pinkerton will return for her. Seen like this‚ her complete immersion into her role as an American wife is neither obsession nor fantasy. It only becomes so when it’s clear he has abandoned her. The precision of her movements and gestures unexpectedly reminded me of the great mime artist Marcel Marceau‚ all the more so in the wordless tension‚ fear and excitement she expresses when waiting for Pinkerton to arrive in the orchestral interlude in Act Two. She vocally matches this acting performance‚ too‚ even if she does not have the large voice often heard in the role....This is Duprels’s Madama Butterfly. It is a memorable performance‚ one not to miss'

'Duprels was vocally as enchanting as ever‚ her phrasing smooth and her tone always clear and bright'

Sigurd‚ Grand Théâtre de GenèvePlanet Hugill.com (September 2013)

'...a strong cast with Anne Sophie Duprels as Hilde'

Madama Butterfly‚ Opera Holland ParkOpera (August 2013)

'A Holland Park regular for more than a decade‚ Anne Sophie Duprels made sure we were aware of Butterfly’s progress from uncompromising‚ simple teenager to young woman in disintegrating denial over her abandonment. Her singing and acting‚ notably in the arch flutterings of Act 1‚ had a compelling interior quality; she had reserves of power for an orchestra-riding eviscerating and emotionally complex ’Un bel di’ and she was even more involving in the detail of her exchanges with Sharpless and Yamadori'

La princesse jaune‚ Buxton FestivalObserver on Sunday (July 2013)

'Anne Sophie Duprels‚ who gives a spirited account of the drab Léna‚ has spent the summer in an imaginary Orient‚ with a stint as Butterfly at Holland Park and a forthcoming Buxton concert of Ravel’s Shéhérazade‚ which begins with the soprano yearning for a fairyland she calls "Asie"'

La princesse jaune‚ Buxton FestivalTelegraph (July 2013)

'...in the Saint-Saens‚ Anne Sophie Duprels proves yet again what a fine actress she is'

La princesse jaune‚ Buxton FestivalThe Arts Desk.com (July 2013)

'The production gains much from being spoken and sung in French‚ using the original Louis Gallet libretto‚ especially since Anne-Sophie Duprels as Léna is so alluring and sings so beautifully'

'This is Poulenc’s La Voix Humaine and here we have an authentic and intimate version‚ featuring the exhilarating French soprano Ann Sophie Duprels‚ accompanied by the outstanding Poulenc interpreter‚ pianist Pascal Rogé. Apparently‚ this is something they have been hoping to do together for years and it is our good fortune that they have managed it at last - in Buxton...These two performers surely give the piece its definitive interpretation. Duprels is expressive‚ waif-like‚ abandoned‚ but trying to hold on‚ even wanting to reassure her lover and take the blame'

Madama Butterfly‚ Opera Holland ParkClassical Source.com (June 2013)

'Pride of place must go to the performance of the name part by Anne Sophie Duprels. The Holland Park audience has privileged access to this singer and her talents‚ as she has been their house prima donna for some years. She reminded me of Elizabeth Vaughan‚ spare of physique yet with reserves of vocal power which enabled her to fill Puccini’s lines with emotionally charged tone...The voice opened up lavishly in the final pages...‘Un bel di’ (One fine day) was finely paced‚ the soprano’s tone expanding as the pictures in her imagination of Pinkerton’s return became more explicit and detailed. The scene with the consul was particularly powerful...in the final scene Duprels showed that the strategic control of her vocal resources had left sufficient reserves of stamina for the taxing emotional and physical conclusion...This is as persuasive an account of Butterfly’s journey through unbearably painful experiences as is before the operatic public today'

Madama Butterfly‚ Opera Holland ParkEvening Standard (June 2013)

'Regular OHP prima donna Anne Sophie Duprels holds this centre with ease‚ flipping between anger and disingenuous charm‚ a proud housewife and panicking lover. There have been more polished Butterflies but few this charismatic'

Madama Butterfly‚ Opera Holland ParkIndependent (June 2013)

'...this Butterfly gestures and moves could have come straight out of the floating world of ukiyo-e prints: soprano Anne Sophie Duprels has absorbed that body-language so completely that she can use it to reinforce the expressiveness of her singing... a performance which grows in beauty and plangency as the show progresses... when Cio-Cio San realises that she has been betrayed until the moment of her dignified death‚ Duprels holds us spellbound through the sheer conviction and power of her performance'

Madama Butterfly‚ Opera Holland ParkIndependent on Sunday (June 2013)

'Duprels’ Butterfly is half-enchanted by adult sexuality‚ half-afraid‚ embittered by poverty‚ traumatised by her father’s suicide‚ fiercely proud‚ reckless in her rejection of the old religion‚ stubborn. The tension between tradition and individuality is striking: while Duprels holds the formal poses of a geisha in Act I‚ Cio-Cio San’s words are notably indiscreet. In Act II‚ three years later‚ the semi-Westernised woman who sings "Un bel di" ("One Fine Day") is half-mad with the effort of believing in a marriage that all others know to be a sham. The bloody conclusion of Act III‚ signalled early‚ is harrowing...this is a Butterfly in which every detail of Puccini’s score registers and in which Duprels’ vocal lustre‚ physical energy‚ candour and sophistication leave you breathless'

Madama Butterfly‚ Opera Holland ParkMetro (June 2013)

'Your eyes stick to Anne Sophie Duprels‚ the French soprano who brings Butterfly to life even in the midst of death. Utterly convincing as a coy child bride and the abandoned mother she becomes‚ Duprels can do supple‚ soaring and every shade between: her joy leaps from peak to peak in the love duet‚ her excitement in Un bel di‚ vedremo is infectious and her tone darkens like a terrible bruise as she bids her son goodbye'

Madama Butterfly‚ Opera Holland ParkMusical Criticism.com (June 2013)

'The Butterfly of Anne Sophie Duprels is a resoundingly three-dimensional woman; one senses (and hears) her development as the opera progresses. Each phrase she spins is a long line of breathtaking emotion and commitment. It’s rare to hear a soprano who can do as much vocally with the notoriously difficult role and still be dramatically convincing not only as a young‚ naïve girl but also as a strong woman. Duprels is that singer...This is no ordinary production of Butterfly‚ despite its traditional garb. It is a must see for the exceptionally high level of artistry from all involved and‚ if London’s aberrant weather holds‚ for the experience of a lifetime'

Madama Butterfly‚ Opera Holland ParkObserver on Sunday (June 2013)

'The French soprano Anne Sophie Duprels‚ fragile but wiry in physique‚ powerful and communicative in voice‚ sang the title role. She looked striking in her white bridal kimono and moved gracefully‚ adorning the minimal designs. Her agitation in the orchestral intermezzo‚ as she waited for Pinkerton’s ship to make its promised return‚ was almost unbearable'

Madama Butterfly‚ Opera Holland ParkOpera Today.com (June 2013)

'Anne Sophie Duprels offered something rather more than merely convincing; she inhabited the role completely‚ offering a rounded portrayal in dramatic and vocal terms alike. Not a single false note‚ in any sense‚ was struck‚ and one sympathised to a degree beyond the expectations engendered by what can often seem a silly role. Butterfly’s delusion‚ then‚ convinced at least as much as her attraction. There was strength without steel‚ nobility without hauteur'

Madama Butterfly‚ Opera Holland ParkWhats on Stage.com (June 2013)

'The plot of Madama Butterfly is known to a broad theatre audience through its reworking as Miss Saigon with a heroine whose tragedy can touch the heart and appal the spirit. Anne Sophie Duprels achieved this and more: her utterly believable Cio-Cio-San was initially presented as a demurely ritualised Japanese Geisha‚ while her subsequent‚ pathetically approximated attempts to westernise her appearance during Pinkerton’s absence somehow freed her to express despair‚ when it came‚ without constraint. Duprels sang as she acted‚ with intense beauty and harrowing dramatic commitment. Every fibre of her being was engaged in her role and the illusion of a guileless Japanese child-woman (which after all takes some buying) was absolute. She used her gorgeous‚ creamy-rich soprano to infuse her character with an utterly heartbreaking vulnerability...this was Duprels’ show – and she stole it'

Queen of Spades‚ Grange Park OperaMusicalCriticism.com (July 2012)

'Anne Sophie Duprels (a Grange Park favourite) proved much more interesting‚ both musically and dramatically. Her voice has become darker and heavier in recent years‚ as she has embraced some bigger and more dramatic roles‚ and she is no longer the ingénue that some Lisas try to portray. Duprels conveyed all of Lisa’s growing anxiety about the man that she loves‚ and her big dramatic moments were seized to the full: what is more‚ she can act with her voice‚ and portray her emotions in the musical sound that she produces. Always watchable‚ Duprels gave us an intense‚ dramatic and convincing portrayal of Tchaikovsky’s wronged heroine'

Queen of Spades‚ Grange Park OperaGuardian (June 2012)

'Anne Sophie Duprels is taken close to her vocal limits by the demands of lost soul Lisa‚ yet she holds firm...it’s the ongoing sense of integrated music and drama that raises the evening to distinction'

'...gutsy performances make the show a winner...Lisa is scorchingly performed by Anne Sophie Duprels'

Madama Butterfly‚ Opera NorthTimes (March 2012)

'The soprano Anne Sophie Duprels locks on to a youthful persona for a persuasive depiction of the innocence and gullibility of the 15-year-old Butterfly. As well as a bright‚ flexible voice that scales all Puccini’s dramatic challenges‚ she deploys a beautiful grace in movement‚ stylised perhaps‚ as required‚ but consistent and expressive'

Madama Butterfly‚ Opera NorthOpera (December 2011)

'Duprel’s Cio-Cio San - who heartbreakingly adopts the bobbed haircut and ankle socks of a high school prom queen - seems to be growing younger by the minute. The challenge is similar to a classical actress playing Juliet‚ as the full resources of a mature technique are brought to bear on the representation of a guileless teenage girl. Duprel’s voice is light and skittish‚ but never underpowered. When she tells her American suitor that she’s still shy of her 16th birthday‚ it almost comes as a surprise to discover that she’s as old as that'

Madama Butterfly‚ Opera NorthIndependent (November 2011)

'As for Anne Sophie Duprels‚ returning to the title role‚ it would be hard to find‚ or even imagine‚ a more thoroughly committed rendering of it. Particularly striking was the contrast she made between the two acts. In the first‚ she was the nervous 15-year old‚ often shrinking from Pinkerton’s eager touches. In Act II‚ she had not only adopted American clothes and hairstyle. She seemed to have grown physically and in self-confidence‚ even though coping with a desertion she cannot admit is permanent'

'...the greatest singing pleasure of this performance came‚ as in 2006-07‚ from the remarkable Anne Sophie Duprels. She never tries to be girlish in her sung expression‚ letting her warm soprano‚ with its wide variety of tonal colour and her ability to caress a phrase‚ bring out the nature of Butterfly’s gamut of emotions which go from trepidation‚ through genuine love of Pinkerton and pass to her agonies in waiting for his return and ultimately realising‚ desperately‚ their relationship. It is a consummate performance and one that I have rarely heard surpassed in my many years of opera going. Tebaldi is unsurpassed on record‚ and having reviewed Covent Garden’s latest wonder woman in this role‚ I can but note that in my view Duprels stands comparison with both'

Madama Butterfly‚ Opera North at LowryWhats On Stage.com (November 2011)

'As Butterfly Anne Sophie Duprels is quite simply stunning as she encaptures every facet of Cio-Cio and moves effortlessly through every emotion. She acts as beautifully as she sings. These two leads are a match made in heaven'

Madama Butterfly‚ Opera NorthGuardian (September 2011)

'Far stronger is the manner in which Anne Sophie Duprels’s Cio-Cio-San cuts herself adrift from her native culture‚ maintaining a little American shrine and dressing like a high-school prom queen. It would be tempting to say that Duprels’s interpretation has matured since the first run of performances‚ when really the opposite is true. Her supple voice and sensitive demeanour more than ever combine to create the convincing realisation that Cio-Cio-San is‚ perturbingly‚ 15'

Madama Butterfly‚ Opera NorthThe Arts Desk.com (September 2011)

'Duprels projects the necessary youthful vulnerability as Cio-Cio San‚ and we wince as we see her transformation into an American housewife in Act 2…she moves with as much conviction as she sings; even dramatically compelling when spreading flower petals in anticipation of Pinkerton’s return'

Madama Butterfly‚ Opera NorthTimes (September 2011)

'Anne Sophie Duprels’s Butterfly goes far beyond naive trust. This is a serious-minded girl whose hopes and fears continually shift like the sliding Japanese screens of Hildegard Bechtler’s sparse set‚ yet whose core qualities — dignity‚ pride‚ courage — are as evident in her final suicidal moments as when she stands up to her hostile and incomprehending family at the start. And she sings the part with thrilling passion and vocal colour too'

Madama Butterfly‚ Opera NorthWhats On Stage.com (September 2011)

'The tragedy of Cio-Cio-San is intensified by being given a context‚ rather than being generated only by a few heart-stopping arias. The heart-stopping arias are necessary‚ of course‚ and Anne-Sophie Duprels delivers! Her voice seems much fuller than in her previous Butterfly with the company‚ her singing growing in power‚ authority and urgency along with her character‚ but in Albery’s production the human details count for as much. The scene between Butterfly‚ adopted American‚ and Sharpless‚ politely following Japanese custom‚ is as moving as it is witty'

Madama Butterfly‚ Opera NorthYorkshire Evening Post (September 2011)

'...there’s rarely a moment when our full attention isn’t grabbed and held by Anne Sophie Duprels as the heartbreaking Cio-Cio-San. Not only is her voice absolute perfection her acting is equally first rate'

'Anne Sophie Duprels lived through her various transformations with considerable skill‚ and got the vocal measure of this demanding role'

Rusalka‚ Grange Park Operacapricciomusic.blogspot (June 2011)

'Anne Sophie-Duprels plays the part wonderfully‚ her unpassionate‚ innocent‚ coolly piscine youthfulness all brought across very well in a myriad of little details'

Rusalka‚ Grange Park OperaStage (June 2011)

'Anne-Sophie Duprels‚ a compelling Rusalka'

Rusalka‚ Grange Park OperaTelegraph (June 2011)

'Stephen Barlow conducts it with effortless authority. He clearly loves the music to bits without ever letting it go gooey‚ and draws impassioned playing from the English Chamber Orchestra. The same whole-heartedness was evident in Anne-Sophie Duprels’s Rusalka‚ sung and acted with a warmth and sincerity that was at times almost painful to witness'

Rusalka‚ Grange Park OperaThe Arts Desk.com (June 2011)

'It’s certainly impressive enough to have a strong soprano voice capable of the role’s more extreme demands...Duprels always opens up to the higher-lying outbursts'

'Mélisande‚ rather than being all wraith-like‚ oblique distractions‚ was sharply characterized as a conflation of negative feminine prototypes - fairy princess‚ minx‚ child bride - and the clarity of the portrayal‚ set against the elusiveness of everything she says‚ made her dishonesty and knowing lack of innocence credible and disturbingly manipulative. It was a complex thing to attempt‚ but Anne Sophie Duprels had deceit and instability down to her fingertips‚ and her ardent singing caught the speech-rhythm ebb and flow of the words and music with great success. Her tumbling tresses scene‚ far from being yet another bad hair day‚ was charged with a pleasingly lubricious eroticism‚ and the Act 4 scene‚ first with Arkel‚ then with Golaud‚ was agonizingly convincing'

'Fuchs establishes at the start that Mélisande (Anne Sophie Duprels) is a liar‚ and reminds us throughout that her aura of mystery is linked in no small measure to untrustworthiness. Her scenes with Palle Knudsen’s Pelléas have an eerie chastity‚ and the final act is devastating. Musically‚ it’s fine‚ too – Duprels suggests deep emotions beneath the surface mix of girlishness and lies'

'...the silent sobbing of Anne-Sophie Duprels’ Mélisande to the sobs of the violins‚ and the exquisitely detailed choreography of the lovers’ hands under Colin Grenfell’s close lighting in Act IV. Duprels’ gleaming Mélisande is both an innocent and a liar‚ a blank canvas...The singing is wonderful...'

Pelléas and Mélisande‚ Opera Holland ParkOxford Times (June 2010)

'In the role of Mélisande‚ the superb soprano Anne Sophie Duprels brings a similar emotional heft to that she delivered last year as Holland Park’s Kát’a Kabanová. The production reunites her with director Olivia Fuchs‚ designer Yannis Thavoris and lighting designer Colin Grenfell. Between them‚ they conjure a magical world‚ monochrome in the main‚ at which we cannot do other than gaze in rapt fascination'

Pelléas and Mélisande‚ Opera Holland ParkTelegraph (June 2010)

'...admirable French soprano Anne Sophie Duprels sang Mélisande. She is a most resourceful and intelligent actress‚ with the musicianship to match...'

Pelléas and Mélisande‚ Opera Holland ParkTimes (June 2010)

'At the centre of it all is Anne Sophie Duprels’s ardently sung‚ ferociously acted Mélisande‚ a blonde bombshell‚ part Lilith and part Bardot‚ both a victim of the men in her life and a willing conspirator in the tragedy that consumes them all'

'Impressive in recent years as Janacek heroines‚ the petite Anne Sophie Duprels is a waif-like Melisande in Lady Godiva wig‚ singing beautifully and unsurprisingly idiomatically'

The Adventures of Mr Broucek‚ Scottish OperaThe Journal (May 2010)

'Comedic timing is notoriously difficult to pull off alongside the demands of the singing‚ acting and choreography‚ and more often than not it just doesn’t gel at all with the operatic form. In this instance‚ however‚ there were a good number of sincere belly-laughs throughout‚ induced from the playful manner in which the cast genuinely seemed to enjoy the performance‚ reveling in the dramatic absurdity that the work is so rich in...The principal cast morphed with ease through their past‚ present and alien characters. Anne Sophie Duprels shone in particular with her extremely beautiful soprano‚ and John Graham-Hall captured Broucek’s essence perfectly‚ making us hate him‚ excuse him and love him in rapid turns'

The Adventures of Mr Broucek‚ Scottish OperaMusicweb International (April 2010)

'...a cast who get fully inside the music...a bright-voiced‚ sparkling Anne-Sophie Duprels whose coloratura and sheen were just right for the lunar goddess Etherea‚ as well as the altogether more down to earth lover Malinka'

'Anne Sophie Duprels is an aptly Gallic Mimì. She threads the embroidery of her music with both delicacy and strength‚ and she and Bezdüz (Rodolfo) make a dramatically authentic double act‚ affecting in its simplicity and vulnerability'

'Face of the Year-Anne-Sophie Duprels‚ giving one of the most memorable and impressive performances of the year in the title role of Opera Holland Park’s triumphant ’Kat’a Kabanova’.'

The Adventures of Mr Broucek‚ Opera NorthOpera (December 2009)

'The soprano Anne Sophie Duprels‚ captivating as ever...'

Kát’a Kabanová‚ Opera Holland ParkOpera (October 2009)

'Anne Sophie Duprels returned to Holland Park for her first Katya…Duprels was downtrodden‚ passionate dignity personified‚ singing with rapture in the love scene‚ and shockingly dishevelled and distraught as her world fell apart during the Act 3 storm'

The Adventures of Mr Broucek‚ Opera NorthFinancial Times (October 2009)

'The show communicates most in its delineation of the Malinka-Mazal romance‚ vividly brought to life by Anne Sophie Duprels and Jeffrey Lloyd-Roberts'

The Adventures of Mr Broucek‚ Opera NorthGuardian (October 2009)

'The cast around him (John Graham-Hall)‚ playing different characters in the Prague scenes‚ on the moon and back in time‚ are all strongly projected too‚ especially Jeffrey Lloyd-Roberts‚ Jonathan Best‚ Donald Maxwell and Anne-Sophie Duprels‚ all of whom get the English text across with maximum clarity'

'...and a fine cast‚ from which Anne-Sophie Duprels and Jeffrey Lloyd-Roberts stand out in Janacek’s wondrously youthful love music'

The Adventures of Mr Broucek‚ Opera NorthTablet (October 2009)

'...there is terrific support too in what is a real company show from Anne Sophie Duprels‚ Claire Wild...'

The Adventures of Mr Broucek‚ Opera NorthTimes (October 2009)

'...unmissable for John Graham-Hall’s brilliant assum­ption of the title role and a fine cast‚ from which Anne-Sophie Duprels and Jeffrey Lloyd-Roberts stand out in Janacek’s wondrously youthful love music‚ with fine character support from the Opera North stalwarts Donald Maxwell‚ Jonathan Best and Frances McCafferty'

'Anne Sophie Duprels‚ in her various sex-driven roles‚ is the jewel of the performance'

Kát’a Kabanová‚ Opera Holland ParkGuardian (August 2009)

'Duprels is wonderful in suggesting the depths of feeling beneath Kát’a’s fragility. '

Kát’a Kabanová‚ Opera Holland ParkIndependent on Sunday (August 2009)

'There are no weak links. Every characterisation is thorough‚ every note sung with meaning‚ Randle’s ardent Boris and Duprels’s immersion in Kat’a’s guilt‚ longing and terror‚ like her Butterfly and Rusalka‚ sensational. Not simply the highlight of Holland Park’s season‚ this Kat’a Kabanova is the highlight of the summer.
'

Kát’a Kabanová‚ Opera Holland ParkMusical Criticism.com (August 2009)

'Indeed‚ Anne Sophie Duprels’ Kát’a is reason enough to see the production‚ as far as I’m concerned. Vocally‚ she’s absolutely ideal: her strong chest voice means she can punch out the dramatic scenes to great effect‚ while her beautiful top notes are great in the climaxes. Dramatically‚ too‚ she delivers the goods‚ communicating how morally torn she is by her love for Boris. She commands the stage whenever she’s on it‚ and never lets up on the intensity in this short but thrilling opera.'

'Communicating with the same emotional sincerity as Peggy Ashcroft or Judi Dench and singing with unstinting ardour‚ French soprano Anne Sophie Duprels brings heart-rending pathos and sensitivity to the title role of Janácek’s Katya Kabanova.....the tragic force of Katya’s story blazes through Duprels’s interpretation‚ '

Kát’a Kabanová‚ Opera Holland ParkFinancial Times (July 2009)

'Cradling her stomach as if sick with desire and singing her heart out‚ Anne Sophie Duprels became truly the eye of the storm – an outstanding portrayal.'

Kát’a Kabanová‚ Opera Holland ParkMusical Pointers.com (July 2009)

'Anne Sophie Duprels is totally convincing as the trapped daughter-in-law‚ and down-trodden wife'

Kát’a Kabanová‚ Opera Holland ParkMusicOMH.com (July 2009)

'Anne Sophie Duprels‚ who was such a sensational Jenufa‚ was singing the title role for the first time and delivered a mesmerising performance‚ beguilingly sung and quite faultlessly acted – her descent into madness was almost too painful to watch...All in all this was a thrilling performance of one of the 20th century’s greatest operas'

Kát’a Kabanová‚ Opera Holland ParkStage (July 2009)

'This Kat’a Kabanova is a triumph...The principal performances are unimpeachable...Anne Sophie Duprels rises marvellously to the challenge of the title role'

Kát’a Kabanová‚ Opera Holland ParkThe Guardian (July 2009)

'Duprels is wonderful in suggesting the depths of feeling beneath Kát’a’s fragility. The emotional ferocity of her singing sometimes seems out of proportion to her slight frame. She cowers in terror before Jeffrey Lloyd Roberts’s dangerous Tichon‚ and yields to Tom Randle’s vulnerable‚ gloriously sung Boris with shy rapture.'

Kát’a Kabanová‚ Opera Holland ParkWhats On Stage.com (July 2009)

'Anne Sophie Duprels‚ who triumphed here as Jenufa two years ago‚ is a youthful and heartfelt heroine'

Manon‚ Scottish OperaMusicWeb International.com (June 2009)

'The biggest success is in the choice of the lead role‚ and Scottish Opera have come up trumps in their choice of Anne Sophie Duprels as Manon. Perhaps she could sound a little more girlish on her first appearance‚ but this is a small point compared with the sheer vocal splendour that she brings to the role. She is wide-eyed and carefree in the opening scene‚ with a hint of pathos coming to the surface in Voyons‚ Manon; then conflicted and knowing for the second act‚ the aria to the table sounding particularly poignant. She is at her most assured as the pleasure-loving princess of Act 3 with splendid tone and technique for the bravura passage at the beginning of the gavotte‚ and then she throws caution to the winds as she reconquers Des Grieux at Saint Sulpice: with singing like this in N’est-ce plus ma main‚ Des Grieux never stood a chance! By the time we reach the gambling tables of Act 4 she is on the brink of losing control of the roller coaster she has embarked upon‚ and she maintains pathos without loss of tone for the death scene. This is as secure a portrait of Manon as I have ever heard and one which will live long in the memory'

Manon‚ Scottish OperaTelegraph (June 2009)

'...she’s a fine musician and a resourceful actress‚ and her impassioned singing and intense acting in the latter scenes carried thrilling conviction'

Manon‚ Scottish OperaTheOperaCritic.com (June 2009)

'Anne Sophie Duprels convincingly portrays the adolescent charms of Manon...The enunciation of the singers is good and‚ in particular‚ the poignancy of Manon’s Act 2 aria ’Adieu‚ notre petite table’ is memorable'

Manon‚ Scottish OperaGuardian (May 2009)

'If the initial hesitancy of Anne-Sophie Duprels’s Manon seems calculated rather than natural‚ then the awkwardness of her first meeting with Paul Charles Clarke’s Des Grieux is spot-on. These two performances are the cornerstone of the production'

Manon‚ Scottish OperaIndependent (May 2009)

'Manon (Anne Sophie Duprels) is here a pretty doll of a girl: naïve‚ vain‚ easily distracted‚ notably less sexual than Puccini’s volatile heroine or her resolute cousin‚ Verdi’s Violetta. Giddy with novelty‚ she is as intoxicated by the get-rich-quick glamour of the "actresses" Poussette‚ Javotte and Rosette as any provincial 15-year-old might be by today’s Hermès-touting Wags.

Fluttering like a tiny bird‚ Duprels’ generous‚ intelligent singing and ferociously engaged acting make this selfish‚ silly creature credible from the breathless "Je suis toujours tout étourdie" to the foolish farewell to her toile de jouy love-nest "Adieu‚ notre petite table"‚ the public triumph of her Act III gavotte‚ the half-sincere‚ half-prideful seduction of "N’est-ce plus ma main?" in Saint-Sulpice‚ the cruel manipulation of Des Grieux at the gaming table‚ and the forlorn resignation of "Et c’est là l’histoire de Manon Lescaut".

Few actresses‚ if any‚ could better convey this character’s vulnerability and obstinacy or maintain tension through her snail’s-pace journey to candour‚ death and grace. If Duprels dominates‚ dramatically and musically‚ Paul Charles Clarke’s severe‚ sturdy Des Grieux – more curé than cavalier – delivers a persuasive and steely performance'

Manon‚ Scottish OperaScotsman (May 2009)

'In the title role‚ Anne Sophie Duprels gives a performance that is absorbing and passionate'

Rupert Chritiansen’s "Biggest Diva of 2008"Telegraph (December 2008)

'No 7-Anne Sophie Duprels

Capped her devastating Cio-Cio-San for Opera North with a heartfelt Rusalka at Grange Park
'

Jenufa‚ NBR New Zealand OperaNew Zealand Opera News (October 2008)

'"...the rich but pure voice of Anne Sophie Duprels singing Jenufa’s agonised lament over the death of her child in Act 2 is playing over and over in my mind‚ imprinted in my memory - the atmosphere of grief is Bach-like in its sincerity and simplicity" '

Jenufa‚ NBR New Zealand OperaStage Noise (October 2008)

'"In the title role French soprano Anne Sophie Duprels is well cast. Her wide-eyed youth and hope for love and a future are enacted with conviction and sweetness‚ while her rich‚ expressive voice wraps itself around Janacek’s most lyrical music to heart-breaking effect"'

Jenufa‚ NBR New Zealand OperaMetro Live (September 2008)

'"French soprano Anne Sophie Duprels is a captivating Jenufa and her rich‚ dramatic voice easily covers the wide range of emotions that Janacek demands. Her soft‚ sweet singing is beautiful‚ yet it’s no problem for her to project over a full chorus and large orchestra" '

Jenufa‚ NBR New Zealand OperaNew Zealand Herald (September 2008)

'French soprano Anne Sophie Duprels was a radiant Jenufa‚ soaring with the purest lyricism in her Act 2 Salve Regina'

'To make all this work New Zealand Opera has assembled a well nigh perfect cast...At the heart of the work is Jenufa herself. Anne Sophie Duprels took us from innocent young girl‚ hopelessly in love‚ to the mature‚ forgiving adult that ends the opera. Her beautiful voice conveyed every facet of the character rising thrillingly to the various climaxes. Put simply‚ she was Jenufa'

'This is all very diverting‚ but it wouldn’t work without a cast that sings as convincingly as it acts. Anne-Sophie Duprels offers a career-best performance as the water-sprite who‚ on achieving human form‚ cannot win back her innocence'

Rusalka‚ Grange Park OperaSeen & Heard (July 2008)

'Duprels won many hearts with her depiction of the love-lorn water nymph. It helps that Duprels is physically tiny so that she was believable as an inhuman sprite. Even during Act 2‚ when she took on human form‚ Duprels conveyed the aura of someone unworldly‚ simply by looks‚ size and body language alone; for‚ of course‚ this is an opera in which the heroine does not sing for most of the middle act.
It says much for Duprels’ stage presence‚ and McDonald’s direction‚ that we barely missed her singing in Act 2‚ she still created a strong stage presence. But when she did sing‚ it was lovely. Duprels has quite a strong vibrato‚ but allied to a naturally warm voice with a strong lyrical core. The result meant that she shaped Dvorák’s lines beautifully and imbued the water-nymph with a degree of warmth. It was Rusalka’s Act 1 hymn to the moon which everyone was waiting for‚ and Duprels sang it captivatingly‚ but Dvorák gives Rusalka many other lyrical moments and Duprels took perfect advantage of these.'

'McDonald wins riveting acting performances from Anne Sophie Duprels (Rusalka)‚ Jeffrey Lloyd Roberts (the prince)‚ Janis Kelly (the foreign princess) and Clive Bayley (the water sprite). Stephen Barlow obviously loves the score and extracted fine playing from an enlarged English Chamber Orchestra. A few more strings might have brought lusher textures‚ but this was GPO operating at the top of its game'

Rusalka‚ Grange Park OperaGuardian (June 2008)

'Anne-Sophie Duprels’s facial expressions and body language are as finely articulated as her singing - which is saying something'

Rusalka‚ Grange Park OperaIndependent on Sunday (June 2008)

'In Anne-Sophie Duprels‚ last season’s Cio-Cio San for Opera North‚ Grange Park have a heartbreaking heroine: feisty‚ vulnerable‚ compelling to watch in her mute wretchedness'

Rusalka‚ Grange Park OperaStage (June 2008)

'Duprels makes a riveting Rusalka‚ vocally and dramatically'

Rusalka‚ Grange Park OperaSunday Telegraph (June 2008)

'Anne-Sophie Duprels gave a glorious performance as the almost willfully innocent Rusalka‚ singing a perfectly judged ’Song to the Moon’ and heart-breaking in her Act II dumb duet'

Rusalka‚ Grange Park OperaTelegraph (June 2008)

'That wonderful operatic actress Anne Sophie Duprels is utterly heartrending as the lovelorn mermaid‚ and her singing in the third act was ravishingly musical'

Madama Butterfly, Opera NorthMusical Criticism (November 2007)

'... a rivetting feast of thrilling tone... her acting is brilliant. Her youth and freshness lend the part a welcome vulnerability and splendid credibility, while the way she throws herself into everything she does is riveting.'

Madama Butterfly‚ Opera NorthObserver (October 2007)

'The dignity with which Anne Sophie Duprelss Butterfly dismisses her faithful servant Suzuki confirms the French soprano as a Cio-Cio-San for our times‚ her singing almost as immaculate as her affecting acting. Entirely convincing as the 15-year-old who cannot believe her luck in nailing a Yankee‚ she remains so as the Westernised single mother who clings to impossible hope.'

Madama Butterfly‚ Opera NorthGuardian (September 2007)

'She gives a performance of tremendous cogency and insight. Shes entirely credible as the naive 15-year-old of the opening scenes.'

Madama Butterfly‚ Opera NorthIndependent (September 2007)

'The French soprano Anne Sophie Duprels conveys brilliantly the complexity of Cio-Cio San‚ down to the tiniest‚ crucial details of characterisation. Her bright voice‚ warmly Italianate‚ is tinged with tragic restraint as she sings to her child.'

Madama Butterfly‚ Opera NorthSunday Times (September 2007)

'Duprels throws body and soul into her music‚ and brings heartbreaking physical fragility and dignity to the doomed geisha.'

Madama Butterfly‚ Opera NorthTablet (September 2007)

'Duprels is one of the most sincere and rounded young singers about‚ and her Butterfly is really astonishing: childlike and passionate‚ her belief in her own power to make dreams come true frighteningly palpable...She’s also an utterly convincing actress...it’s all a question of completeness - the way that physicality as well as singing is subtly used to signal anxiety‚ impetuousness‚ love: her big aria ’Un bel di’ manages to be unbelievably poignant while not remotely sentimental'

Madama Butterfly‚ Opera NorthTelegraph (September 2007)

'Anne Sophie Duprels wonderful portrayal of Cio-Cio-San...she sings with great sensibility and warmth‚ colouring the text responsively and shaping the phrases with musicality...for sheer sweetness of personality‚ for sheer pathos‚ I have seen few to match her. '

Madama Butterfly‚ Opera NorthThe Stage (September 2007)

'In the title role‚ Anne Sophie Duprels is irresistible. Duprels sings warmly and hopefully and movingly‚ wrapping her words in absolute emotions..what she has is musicality and exquisite expression.'

Madama Butterfly‚ Opera NorthThe Stage (September 2007)

'In the title role‚ Anne Sophie Duprels is irresistible. Duprels sings warmly and hopefully and movingly‚ wrapping her words in absolute emotions..what she has is musicality and exquisite expression.'

Madama Butterfly‚ Opera NorthTimes (September 2007)

'The French soprano Anne-Sophie Duprels offers a magnificently convincing interpretation of Butterfly. Duprels singing blazes with more and more passion as the evening progresses...she gives the music everything shes got‚ and rides the orchestra thrillingly at the climaxes.'

Jenufa‚ Opera Holland ParkOpera (August 2007)

'In a way‚ the title role demands more input from the singer‚ and it certainly received it from Anne Sophie Duprels; again‚ it is hard to recall a more utterly truthful impersonation... her body language is incredibly communicative... Duprels is as fine an actor as she is a singer.'

Jenufa‚ Opera Holland ParkMusical Pointers (June 2007)

'I can but endorse the excellence of Anne Sophie Duprels in the title role.'

Jenufa‚ Opera Holland ParkMusicalCriticism.com (June 2007)

'With no intention to resort to hyperbole‚ I can honestly say that Anne Sophie Duprels and ... gave the two most compelling performances I have ever seen at Holland Park.'

Jenufa‚ Opera Holland ParkMusicOMH.com (June 2007)

'Jenufa is a deceptively big sing‚ but French soprano Anne Sophie Duprels rose to the occasion‚ producing a flood of glorious tone all evening. She was touching in her prayer to the Virgin Mary in Act Two‚ and in the final reconciliation with Laca‚ was quite simply heart-breaking. Its such a superbly written role that Ive never seen a dull Jenufa‚ and in my opinion Duprels can join the lofty ranks of interpreters including Amanda Roocroft and Karita Mattila. This was her role debut and the prospect of her growing into the part is an exciting one.'

Jenufa‚ Opera Holland ParkObserver (June 2007)

'The eloquent Anne Sophie Duprels in the title role.'

Jenufa‚ Opera Holland ParkThisisLondon.co.uk (June 2007)

'As Jenufa‚ Anne Sophie Duprels touches us with her pain‚ fragility and ardour.'

Faust‚ New Zealand OperaGaynz.com (October 2006)

'Margeurite as played by Anne Sophie Duprels is no shrinking violet vocally. Hers is a fulsome spinto voice and a beautiful one at hat. The Jewel Song received full wattage‚ as did the final scene‚ so Wagnerian in its concept and harmonies.'

Faust‚ New Zealand OperaNew Zealand Herald (October 2006)

'French soprano Anne Sophie Duprels was an impressive Margeurite‚ neat in her coloratura‚ touching as the plot thickened.'

Faust‚ New Zealand OperaNew Zealand Listener (October 2006)

'Anne Sophie Duprels sang beautifully and idiomatically.'

Faust‚ New Zealand OperaThe Opera Critic (October 2006)

'Anne Sophie Duprels used her dark timbre to great effect‚ and it was a joy to hear her perfect enunciation of the French language.'

Faust‚ New Zealand OperaManawatu Standard (September 2006)

'This opera features another dream line-up of principals including...Anne Sophie Duprels as Margeurite... absolutely wonderful throughout the evening.'

Faust‚ New Zealand OperaRadio New Zealand (September 2006)

'Anne Sophie Duprels made Margeurite a properly flesh-and-blood creature‚ sweetly demure and romantically dreamy at moments‚ but pulsating with girlish energy when aroused... Her voice had for me the effect of being stoked with a velvet-gloved hand‚ a rich‚ heady infusion‚ rather like a beautiful wine one could savour. Consequently her rendition of the famous Jewel Song was full-blooded and impetuous-sounding‚ far more involving than the languishments brought to this music by some of its celebrated interpreters. She conveyed a real sense of a young girls passion and sexuality being ignited‚ one whose antithesis of abandonment and increasingly unhinged despair in the following acts was made all the more shocking and pitiful by the whole-heartedness of it all.'

Faust‚ New Zealand OperaThe NBR (September 2006)

'As Margeurite‚ Anne Sophie Duprels gives an inspired interpretation to a role which needs to trace her change from childlike vulnerability through to the tragically troubled. Her heart wrenching calling for Faust when she has been ostracised is made even more poignant with her performing before a statue of the Virgin replicating her posture.'

'This may be the first time this reviewer has heard Fiordiligis lengthy aria “Come scoglio” - gorgeously and adeptly sung with all its octave leaps and abrupt changes from head to chest register by soprano Anne-Sophie Duprels — without a moment for applause from an audience so struck that hands remained lap-bound! Duprels remorseful rondo‚ “Per pieta‚ ben mio” also manifested range and careful pacing.'

Cosi fan Tutte‚ Glimmerglass OperaTimes Union (July 2005)

'The petite red-headed soprano Anne-Sophie Duprels as Fiordiligi had a magnetic presence and a voice that grew more attractive the more tortured her heart.'

Cherevichki‚ Garsington OperaIndependent (July 2004)

'Big-voiced Anne-Sophie Duprels delighted.'

Luisa Miller‚ Opera Holland ParkEvening Standard (July 2004)

'Anne Sophie Duprels is wonderful in the title role‚ floating lines freighted with ardour and heartfelt sorrow‚ shaping and colouring them with the heroines anguish.'

Luisa Miller‚ Opera Holland ParkMetro (July 2004)

'Anne Sophie Duprels is an electrifying Luisa and presents a remarkable combination of physical vulnerability‚ vocal power and compelling musical intelligence.'

Luisa Miller‚ Opera Holland ParkSunday Express (July 2004)

'As Luisa ‚ Anne Sophie Duprels sings like a dream and her tiny figure fills the stage and tugs hard on the heart strings. An unforgettable portrayal.'

Luisa Miller‚ Opera Holland ParkSunday Telegraph (July 2004)

'Anne Sophie Duprels is lyrical and has a commanding stage presence.'

Luisa Miller‚ Opera Holland ParkTelegraph (July 2004)

'...she is an engaging performer who gives her all.'

Luisa Miller‚ Opera Holland ParkThe Stage (July 2004)

'Duprels vibrant full-voiced soprano shapes the melodies with due care for words. Her scenes with Alan Oke move and harrow.'

Luisa Miller‚ Opera Holland ParkTimes (July 2004)

'The last in Holland Parks truly excellent season concentrates on the slow extinguishing of hope and love in a series of duets and ensembles of ever-increasing ferocity‚ with the small figure of Anne-Sophie Duprelss Luisa the unfortunate object of manufactured fate. She is a singer with a heart the size of a bus‚ a voice of deep-grained tone‚ clarity‚ flexibility and beauty‚ a vulnerable stage presence full of pathos and an utter sincerity of suffering‚ and she brings huge dignity to the role.'

Luisa Miller‚ Opera Holland ParkWhat’s On (July 2004)

'The production earns its five star rating for the sheer joy of Anne Sophie Duprels. I have rarely heard a performance so faultless and appealing. This singer is just sublimely perfect.'

Cherevichki‚ Garsington OperaIndependent (June 2004)

'As the demanding Oksana‚ Anne-Sophie Duprels also sings powerfully with just the hint of shrewishness.'

La Traviata‚ Opera NorthDaily Post (February 2004)

'Anne-Sophie Duprels was a powerful Violetta who never once failed to appreciate the dramatic impact this particular heroine has on the events in the opera - a far from shrinking violet.'

Lucia di Lammermoor‚ Opera Holland ParkTimes (July 2003)

'...the very special Anne Sophie Duprels as Lucia'

Lucia di Lammermore‚ Opera Holland ParkTelegraph (July 2003)

'Interest‚ however‚ properly focused on Lucia herself. This terrific role was taken by a promising young French soprano‚ Anne Sophie Duprels‚ who made an impression here last year as Magda in La rondine and went on to present a delightful Mimi in La Boheme at Grange Park last month. Duprels displays a forthright personality and stage presence. She has a sturdy‚ warm and confident voice that can nail a powerful top E flat when required.'

La Boheme‚ Grange ParkGuardian (June 2003)

'The diminutive Mimi‚ Anne-Sophie Duprels‚ at once tender and powerful.'

La Rondine‚Opera Holland ParkGuardian (July 2002)

'If there is one singer that makes the production‚ it is the French soprano Anne-Sophie Duprels‚ who sings Magda. It is arguable whether the heroine should be quite as guileless as Duprels plays her‚ but vocally she is just right‚ her singing full of colour and sparkle. It is worth going just to hear her.'